Irony – the tendency to underscore a point by stating the opposite of what is meant – has been the downfall of many an advocate. It’s an often powerful technique. In political speech, though, it is prone to backfire, because it can easily be taken out of context. It’s more dangerous than ever in the age of YouTube and opposition research.
Accept that “oppo” has greatly damaged the effectiveness of Jonathan Gruber, of the Massachusetts Institute of Technology, the economist who in 2004 framed the financial strategy that, over a twisted course, led to the adoption of the Affordable Care Act, in 2010. Gruber is a leading healthcare expert, much in demand. For two weeks he’s been at the center of a firestorm because of three video clips in which he seems to give comfort to enemies of Obamacare.

The story of how investment adviser Rich Weinstein, angered because he was forced to search for a new policy under terms of the ACA (he found one), turned amateur sleuth, searching through hundreds of online videos, radio interviews and podcasts to find three damaging ones, makes interesting reading. We owe it to reporter David Weigel, of Bloomberg Politics.

The ACA requires those who don’t receive health insurance benefits from their employer or from the government to buy their own insurance, much as licensed drivers must purchase automobile insurance, with government subsidies for health insurance for those who earn less than a certain amount.

According to Gruber, the bill was written in a “tortured” way to avoid describing its mandates as taxes. He told a health care conference at the University of Pennsylvania last year that ''Lack of transparency is a huge political advantage, Call it the stupidity of the American voter or whatever, but basically that was really, really critical to getting the thing to pass.''

Gruber was being ironic. Addressing an audience of healthcare professionals, he meant that, for good reasons or bad, in extending insurance to those who couldn’t afford it or even obtain it, that Americans had done the right thing. Sleuth Weinstein found two other clips in which Gruber seemed to buttress Republican argument that insurance obtained on a federal exchange is not eligible for subsidies because the legislation anticipated that all states would form exchanges of their own. Twenty-four states, all with Republican governors, refused to form such exchanges. The federal government formulated a marketplace in their stead.

In an editorial, “The Impolitic Jonathan Gruber,” The New York Times came to the ACA’s defense:

''Republicans are crowing over Mr. Gruber’s remarks because he has been portrayed as a major architect of the health reform. In truth, his role was limited. He had a big contract with the White House to use his econometric model to calculate the financial and coverage effects of proposed measures. And he was one of thirteen experts who advised the Senate Finance Committee. His comments should not be taken as evidence that the reform law was hatched in secrecy and foisted on the public by trickery.''

It depends, I guess, on what is meant by “truth.” In truth, Gruber’s role in devising the mandate strategy of the ACA was absolutely fundamental. The idea had originally been proposed in the early 1990s by the conservative Heritage Foundation as an alternative to Hillary Clinton’s much farther-reaching plans. Gruber dusted it off and broached it in 2004, at the request of then-Massachusetts Gov. Mitt Romney. Romney was in the early stages of preparing a presidential bid. His plan was adopted by Massachusetts’ s heavily Democratic legislature, with apparent success.

The mandate idea was taken over by the Democrats in the campaign for the 2008 presidential election. By now a leading expert on its operation, Gruber first advised John Edwards, then Hillary Clinton, and finally Barack Obama on the details of the plan. In early 2010, President Obama relied on Democratic majorities in both the House and Senate to pass the measure into law.

Was it a good idea? Some Democrats have begun to voice their doubts. Sen. Charles Schumer (D.-N.Y.) said, last week: “It wasn’t the change we were hired to make.” The party should have found a way to raise wages and create jobs, instead of focusing on the uninsured, he continued, whom he described as “a small percentage of the electorate.”

David Axelrod, a close adviser to President Obama in both campaigns countered (in a another story in the WSJ ), “If your calculus is solely on how to win elections, and that is your abiding principle, it leads you to Sen. Schumer’s position. But that’s precisely why big difficult problems often don’t get addressed in Washington, and why people have become cynical about that town and its politics.”

The ACA will continue on its perilous course in the courts, this time in King vs. Burwell, a challenge to subsidies for those policies obtained from the federal exchange. The 2016 elections come after that.

With much rule-changing still to be done before the huge medical sector becomes stable, U.S. healthcare reform is like global warming: Further measures are not a matter of if but when.

David Warsh, a longtime financial journalist and economic historian, is proprietor of economicprincipals.com

"Shippwrekked (BR15-108'') (acrylic on fabric), by Brent Ridge, in show "Liz Gargas and Brent Ridge,'' at the New Art Center, Newton, Mass., March 4-April 10. The gallery says that Mr. Ridge "operates in a land of abstraction rooted in appropriation, landscape, and post-industrial aesthetics''

"Smoke" by Lisa Oppenheim

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"The parody trailer by comedy network Above Average explores a world in which the dedicated Spotlight team finishes their work on sexual abuse in the Catholic church and investigates what else is wrong with Boston: everything."

Newport

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson Siebel, at the Wood Museum, Springfield, Mass through July 10, 2016

Her work features 343 portraits, one for every New York City firefighter lost in the attacks on the World Trade Center. The images are along a 21-foot-long wall, allowing visitors to come face to face with men who made a living out of risking their own in order to save others.

"Saturday, March 21 (1965). Afternoon. Taken on my arrival in Selma {Ala, at the Brown Chapel area," by JAMES H. BARKER

"Saturday, March 21 {1965}. Afternoon. Taken on my arrival in Selma {Ala.}, at the Brown Chapel area," by JAMES H. BARKER, in the show "Through the Lens of History: Selma & Civil Rights,'' Grand Circle Gallery, Boston, through January.

"Consumable Sugarhouse,''

"Consumable Sugarhouse,'' in Norwich, Vt.

“A sap run is the sweet good-bye of winter”

"Window 60 Autumn,'' by Maira Reinbergs

"Window 60 Autumn,'' by Maira Reinbergs in the "Color Passages'' show at ArtProv gallery, Providence, through Feb. 17.

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata"

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata,'' at Chandler Gallery, Cambridge, Mass., through March 11.

An arrogant plutocrat for the masses; bees imperiled

How curious that middle- and lower-income Americans who feel with some justification that they have been treated with disdain by an increasingly arrogant and selfish plutocracy turn for leadership to a sleazy, arrogant and narcissistic member of the plutocracy.

"Frog Prince,'' by MAXFIELD PARRISH, at the show "The Power of Print,'' at the Currier Museum of Art, Manchester, N.H., through Jan. 10. Mr Parrish did much of his work in New England at the artists' colony in Cornish, N.H.

"Whale's Jaw, Dogtown,''

"Whale's Jaw, Dogtown,'' from the archives of the Cape Ann Museum, in Gloucester.

Mornings in Little Compton

by Lydia Davison Whitcomb

Mornings in Little Compton

by Lydia Davison Whitcomb

Colored Stone History

by Lydia Davison Whitcomb

"Unihemispheric Existence''

"Unihemispheric Existence'' (detail) (steel, wood, gallery wall), by WILSON HARDING LAWRENCE, in the show "Nuanced: open-endedness, capaciousness and other provocative conditions of making,'' at the Dedee Shattuck Gallery, Westport, Mass., through

"The Market Is a Snake,'' by MICHAEL YEFKO, in the show "Further on Down the Yellow Brick Road,'' at Hera Gallery, in Wakefield, R.I., through June 20. In it he explores "temporal aspects of geometry.''

"Physicality'' (photography, oil, narrative text and resin on panel), by SHERRY KARVER, in her show "Objects of Affection,'' at Lanoue Gallery, Boston, through Oct. 31.

"Dream Work of Thomas Street''

(acrylic on panel), by SHAWN KENNEY

"Karl with Honeybears"

"Karl with Honeybears'' (oil on canvas), by DAVID PETTIBONE, at the Corey Daniels Gallery,

"smoke"

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"Elevation'' (acryllic on canvas), by Diane Novetsky, in her show 'EARTHSHIFTER

"Nero''

"Nero'' (Marquina marble), by PAUL BLOCH

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward,'' by JEFFREY MARSHALL, in the show "Katrina Then and Now: Artists as Witness,'' through Oct. 10, at Gerald Cantor Art Gallery, College of the Holy Cross, Worcester.

"Siberia Imagined and Reimagined"

Photo in Krasnoskamensk, Russia, March 2006, by SERGEY MAXIMISHIN, in the show "Siberia Imagined and Reimagined,'' at the Museum of Russian Icons, Clinton, Mass., through Jan. 10.

"Arcology'' (detail; gouache and Lascaux acrylics on archival papers), by Ilona Anderson, in her show "Arcology,'' at Kingston Gallery, Boston.

"Resonance: book in time II''

"Resonance: book in time II'' show at Brickbottom Gallery, Somerville, Mass., Dec. 6-Jan. 16. It's a collection of individual and collaborative artists' books by Ann Forbush, Ania Gilmore and Annie Zeybekoglu.

"Civil Rights Marchers Walking from Selma to Montgomery, Alabama, on Monday, March 23, 1965,'' photo by JAMES BARKER, in the show "Through the Lens of History: Selma & Civil Rights at the Grand Circle Gallery,'' Boston, through January.